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Copyright 2010 by Victor Chestopal
All rights reserved
2
To my mother Victoria Yagling
3
4
You know something, Glenn, I felt it. I dont know if I would have actually
been able to spot what you did just listening to it, but there was a link
between those variations. I could feel it in my bones.
Tim Page (after listening to Variations XVIXVIIXVIII from
Glenn Goulds 1981 recording of the Goldberg Variations)
5
6
TABLE OF CONTENTS
Abstract................................................................................................8
Acknowledgments................................................................................9
Introduction.........................................................................................10
1. Structure......14
2. Temporality.................................................................27
1. The correlations....47
Conclusion..........................................................................................88
Reference list.......................................................................................91
7
ABSTRACT
8
ACKNOWLEDGMENTS
9
INTRODUCTION
It is hard to disagree with Walter Schenkman who claims that among many
problems that confront the editor or performer of the Goldberg Variations,
none is more crucial than that of the establishment of tempi within the
individual variations.1 The interpreter of the Goldberg Variations is almost
completely deprived of such utterly important guidance as the composers
tempo markings, which are as rare guests in the Goldberg Variations as
they are in the other works of Bach. The only tempo indications the
composer had given in this enormous cycle are: al tempo di Giga (Variation
VII), andante (Variation XV) and adagio (Variation XXV).
While preparing the Goldberg Variations for a concert performance a
decade ago, I experienced how intricate and at the same time inspiring its
temporal enigma is. Thus, the present study has grown not only out of
theoretical interest, but also (if not primarily!) out of my wish to investigate
the works temporal problems in order to apply the acquired knowledge in a
performance. It means that ultimately I address my research not only to the
performers and music scholars, but also via performers to the listeners.
My final goal is to suggest a logical foundation, upon which an interpreter
of the Goldberg Variations can make his/her choice of tempi.2 Hence, in this
study I will propose a multilevel system of temporal correlations, such as the
application of a constant pulse-rate to the entire work (the concept of Glenn
Gould,3 as well as Walter Schenkman4) and the attainment of equality of
duration between a number of the works segments. Consequently, the term
1
Schenkman 1975, 3.
2
This thesis is addressed to both harpsichordists and pianists, for the choice of the instrument and the issue
of performance traditions authenticity have no relevance in my research.
3
Page & Gould 2001.
4
Schenkmann 1975.
10
temporal is used not only with reference to the establishment of tempi for
the Goldberg Variations movements, but also with regard to their temporal
proportions in terms of duration.
Naturally, my system of temporal correlations is a hypothesis, for none of
us performers/researchers can verify Bachs original concept of the
Goldberg Variations temporal design. Nonetheless, I do hope that with the
use of analysis we can, to a certain extent, decode Bachs ideas.
The analytical approaches on the subject of the Goldberg Variations
structure and conception differ. As Peter Williams observes: It does seem
to be the nature of the Goldberg to inspire a range of hypotheses.5 As a
result, a performer or a researcher, apart from examining the Goldberg
Variations him/herself and forming a personal approach, faces a multitude of
analytical papers on the topic in question. To analyze this large number of
analyses (pardon the tautology) is quite a laborious task, but, undeniably, the
discussion of the works temporal problems can only be based upon a
knowledge of its structure (i.e. form), which reveals highly intricate, in many
cases hidden, interdependencies (e.g. motivic), symmetries, well-considered
recurrences of Variations types (such as Canons, among others) etc.
My key reference with regard to the Goldberg Variations structural
analysis is the study of Boris Katz,6 in which he discloses an impressive
panorama of the works multiple symmetries.7 In order to support Katzs
concept, I will demonstrate the motivic correlations between the Variations,8
5
Williams 2001, 48. For instance, Werner Breig (1975), contrary to many researchers (including the author
of this study) who do not question Bachs original plan ThemeXXX VariationsTheme puts forward a
hypothesis of the composers initial design, which contained only XXIV Variations.
6
Katz 1985.
7
Due to the complexity of Katzs approach I prefer not to discuss it in the Introduction.
8
Motivic is used as an umbrella term: the ties between the Variations can be thematic, gestural etc.
11
which Katz considers as symmetrically interdependent.9 It is important to
stress that I had no intention of analyzing the motivic correlations in depth;
as said previously, in my research these ties are brought up in order to
defend Katzs approach.
With regard to the temporal issues, the abovementioned Goulds10 (as well
as Schenkmans11) concept of one pulse that goes through the entire colossus
of the Goldberg Variations is of key importance for me. Such a pulse a
quarter note of the Theme constitutes a constant rhythmic reference
point12 and creates temporal unity of all the Goldberg Variations
movements (an almost arithmetical correspondence between the theme and
the subsequent variations13 as Gould formulated it). This thought-
provoking approach gives us a rich and demanding field for research,
important not only in a purely intellectual, abstract sense, but helpful to
performing artists who appreciate logic and conceptual thinking.14
My study is organized as follows:
Part I: Structural and temporal aspects of the Goldberg Variations
This part is divided into two sections: 1. Structure & 2. Temporality. Section
1 is dedicated to the overview of the Goldberg Variations structural
phenomena (i.e. the construction of the cycle) and the analysis of Katzs
approach.15 In section 2 I address Goulds, Schenkmans, as well as Don O.
9
I do not mention the researchers who display some of the motivic correlations shown in this study,
because these scholars discuss such correlations in dissimilar contexts.
10
Page & Gould 2001.
11
Schenkman 1975.
12
Page & Gould 2001, 21.
13
Glenn Gould in conversation with Bruno Monsaingeon (The Goldberg Variations. From Glenn Gould
plays Bach. A film by Bruno Monsaingeon). Transcription by V.C.
14
I recall that in the end of 1980s, at one of the lessons at the Moscow Conservatoire, Mikhail Pletnev
(with whom I studied) proposed to apply Goulds idea of a single pulse to the Sinfonia from Bachs C
minor Partita No. 2. That was the first time I became acquainted with this Gouldian concept, which ever
since I have applied to various (not only Bachs) works.
15
Katz 1985.
12
Franklins16 concepts, and then explain the formula of the temporal
correlations, which constitutes the core of my thesis.
Part II: Temporal and motivic correlations
Part II likewise contains two sections: 1. The correlations & 2. Diagram of
the temporal correlations. In section 1 I explain the temporal correlations of
the Goldberg Variations movements, made according to the formula of
such correlations, which is described in Part I. In addition, this section
contains the aforementioned motivic correlations between the Variations. In
section 2 the temporal correlations, clarified in the previous section, are
displayed as a diagram.
Since the Goldberg Variations disclose a rare unity of all its components, I
believe it would be very naive to approach this opus as a kaleidoscopic
sequence of thirty very interesting but somewhat independent-minded
pieces, going their own way.17 I do hope that the system proposed in my
study can 1) convey a clear perception of the works form to a performer
(which is vitally important, considering the enormous scale of the work), and
2) highlight the abovementioned exceptional interdependence of the
Goldberg Variations constituents.
16
Franklin 2004.
17
Glenn Gould in conversation with Bruno Monsaingeon (The Goldberg Variations. From Glenn Gould
plays Bach. A film by Bruno Monsaingeon). Transcription by V.C.
13
PART I
STRUCTURAL AND TEMPORAL ASPECTS OF THE GOLDBERG
VARIATIONS
1. Structure
The main basis of the Variations is the Themes bass line and harmony.
Thirty Variations are divided into ten groups, each containing three
Variations (henceforth referred to as the groups of three21). In the groups of
three IIX every third Variation is a Canon. The interval of the Canons is
augmented from the unison (Variation III) to the ninth (Variation XXVII).
18
Katz 1985.
19
Page & Gould 2001.
20
The information is limited to the aspects relevant to the purposes of the present study.
21
Peter Williamss term (Williams 2001, 40).
14
The last group of three (Variations XXVIIIXXX) ends with the Quodlibet
(Variation XXX).
Of the thirty Variations, only three (i.e. one tenth) are in the minor mode
(G minor): XV, XXI, XXV.
15
Following is the Goldberg Variations overall scheme:
Example No. 1.
First half
Time signatures: 3/4 3/4 2/4 12/8 3/8 3/4 3/8 6/8 3/4 C 12/16 3/4 3/4 3/4 2/4
G minor Variations: *
Second half
Movements: XVI XVII XVIII XIX XX XXI XXII XXIII XXIV XXV XXVI XXVII XXVIII XXIX XXX THEME
Time signatures: & 3/8 3/4 3/8 3/4 C 3/4 9/8 3/4 18/163/4 6/8 3/4 3/4 C 3/4
G minor Variations: * *
The type of every third Variation in the groups of three is evident: Canons
& Quodlibet (see Example No. 1).
When considering the second Variations within the groups of three (i.e.
Var. II, V, VIII, XI, XIV, XVII, XX, XXIII, XXVI, XXIX), Katz points to
their virtuoso character. Such a common feature enables him to classify
these Variations as the inner series of toccatas.23 The term inner series,
introduced by Katz, is defined by him as follows:
23
Katz 1985, 59.
16
Inner series implies a set of variations (adjacent and nonadjacent) united by a
common attribute, not shared by the other variations. Inner series emerge in a
variation cycle as a result of the projection of one or another paradigmatic
class of variations onto the general syntagmatic axis of the cycle.24
Thus, the abovementioned inner series of toccatas is a paradigmatic
(vertical, so to speak) class of Variations, projected onto the Goldberg
Variations syntagmatic (horizontal) axis (i.e. Theme Variations IXXX
Theme).
As concerns the first Variations in the groups of three, Katz asserts that
despite their apparent diversity, these Variations reveal a recurrence pattern
as well:
[] the 4th, 10th, 16th, 22nd25 variations possess a common feature active
polyphonic development, which enables us to combine them into a single
inner series, which, for convenience, we can call an inner series of fughettas.
Therefore the scheme of the sequence of variations for the groups 46, 1012,
1618, 2224 will be as follows: I fughetta II toccata III canon. A
recurrence pattern can also be tracked in the first variations of the other
groups [of three]: due to the common dancing features, variations 7 and 19
enter into the inner series of gigues []; variations 13 and 25, due to the
textural and motivic similarities, can be included in the inner series of arias,
which was commenced by the Theme. Consequently, the groups 79 and 19
21 have the following structure: I gigue II toccata III canon, and the
groups 1315 and 2527: I aria II toccata III canon.26
As can be seen from the above quotation, the first and the last groups of
three (Variations I, II, III and XXVIII, XXIX, XXX respectively) are
24
Ibid. 152. Emphasis in the original. All the quotations from Katzs paper are translated from Russian by
the author of this study.
25
Though in this study I use Roman numerals with reference to the number of the Variations, in the
quotations from Katzs paper I have retained Katzs use of Arabic numerals.
26
Katz 1985, 5960. Emphasis in the original.
17
temporarily not considered, for they, according to Katz, do not reveal the
recurrence patterns peculiar to the other groups of three.
Many researchers seem to have overlooked the recurrence pattern of the
first Variations in the groups of three. For example, Breig,27 who, like Katz,
classifies most of the second Variations in the groups of three as the
virtuose Variationen,28 defines the majority of the first Variations in these
groups as freie Variationen29 and claims:
The opening Variations of the groups form no series, which could be
considered from the perspective of progression.30
Peter Williams classifies the first Variations in the groups of three as a
dance or clear genre-piece (such as a fughetta).31
With the exception of Variation VII, which bears Bachs indication al
tempo di Giga, and Variation X, entitled Fugetta by the composer, Katzs
classification of the Variations simplifies their multifaceted constitution, and
is therefore relative. Katz is well aware of this. For instance, when unifying
the second Variations of the groups of three into the inner series of toccatas,
he stresses that the term toccata is applied for convenience.32 Katz also notes
that the use of the term fughetta with regard to Variation XXII and,
especially, to Variation IV is extremely conditional.33 Furthermore, Katz
makes an important claim, stating that a single Variation can belong
simultaneously to different inner series. He defines this phenomenon as an
intersection of the inner series.34 In order to exemplify such intersections,
27
Breig 1975.
28
Ibid. 246.
29
Ibid. 247.
30
Die Anfangsvariationen der Gruppen bilden keine Reihe, die sich unter dem Aspect der Progression
betrachten liee. Ibid. 248.
31
Williams 2001, 40.
32
Katz 1985, 59. Emphasis mine.
33
Ibid. 152.
34
Ibid. 61.
18
Katz points to Variation XI, which, according to him, represents the
intersection of toccata-series and gigue-series, and Variation XXIV, which
combines Canon-series and gigue-series.35
I would like to add that in my view it seems questionable whether
Variation XIX can be considered as a gigue (Katzs definition36). Williams is
hesitant with regard to the genre of this Variation;37 he designates it as a
minuet and leaves this definition with a question mark.38 Andreas Jacob
regards Variation XIX as a passepied.39 Whatever the right description of
this Variations genre, for the purposes of the present study (as will be
revealed at a later stage) it is important to stress its interdependence with
Variation VII. As I have pointed out in the Introduction, in the second part
of this paper we will discover the motivic correlations between the
Variations; such motivic ties between Variations VII and XIX are so close
(see Example No. 21) that their interconnection cannot be questioned.
Hence, I agree with Katzs attribution of both Variations to one inner series.
Katzs classification of Variation II as a toccata also seems problematic.
This Variation, remarkable due to its quasi-canonic nature (which functions
as a kind of preparation for the ensuing first real Canon: Variation III) is
more complex than most of the other Variations, classified by Katz as
toccatas.
A similar comment applies to Variation XXVI, which projects the
saraband rhythm (in 3/4) onto the toccata-type texture (written in 18/16).
35
Ibid.
36
Ibid. 59.
37
Williams 2001, 75.
38
Ibid. 41.
39
Jacob 1997, 265.
19
Katz is aware of this Variations divergence from the other toccatas,40 but he
does not provide the reader with his point of view upon this topic.
The aforesaid notwithstanding, I believe that Katzs classification of the
Variations, relative as it is, helps to grasp their common features, and
consequently reveals the overall structure of the work. For this reason, in the
present study I have chosen to adhere to Katzs categories, such as toccata,
fughetta, gigue and aria.
Subsequent to the attribution of the Variations to the inner series, Katz
shows his view of the Goldberg Variations overall structure in the
following graph, in which he delimits the groups of three by a colon, and the
abbreviations imply: C canon; T toccata; F fughetta; A aria; G
gigue:41
42
Example No. 2.
Theme
Introductory group 1, 2, 3:
F T C G T C F T C A T C
2 Sub-cycle 16, 17, 18: 19, 20, 21: 22, 23, 24: 25, 26, 27:
Theme
40
Katz 1985, 59.
41
In the graph (Example No. 2) Katz does not display the above-mentioned intersections of the inner
series.
42
Katz 1985, 60.
20
As can be seen in the above graph (Example No. 2), in connection with
the four groups of three (Variations IVXV), and another four groups of
three (Variations XVIXXVII), Katz introduces the concept of the sub-
cycle,43 which I consider to be the core of his conception. Katzs graph
(Example No. 2) displays the striking fact that the Sub-cycles 1 & 2 disclose
the symmetrical sequence of Variations types!44
Katz writes:
[] the first variations [of the groups of three in the Sub-cycles] appear in the
same order fughetta, gigue, fughetta, aria. That explains the conundrum of
the structure of variation 16: its first part an overture is needed to signal
the commencement of a new sub-cycle, the second part a fughetta is
needed for the second sub-cycle to begin in the same way as the first one.
[] groups [of three] 13 and 2830 are revealed as introductory and
concluding groups.45 The appearance of the Theme at the beginning and at the
end of the cycle contributes to its completeness and integrity based on the
principle of the periodic distribution of variations belonging to different inner
series.46
At the same time, Katz emphasizes that his graph (Example No. 2) is no
more than the skeleton of the composition.47
In the present context it is important to mention that the concept of
parallels between Variations IVXV and XVIXXVII (sub-cycles
according to Katz) appears also in chapter XIII (Parallelen in
43
Katz does not define the term sub-cycle, but, I believe, its meaning in the present case is quite clear: it is
a smaller cycle within the main cycle.
44
Though, as I have pointed out, I have a few reservations with regard to Katzs classification of the
Variations, further analysis will display that beside the symmetrical sequence of Variations types there are
also other phenomena, which support the symmetrical correlation of the Variations of Sub-cycles 1 & 2.
45
The first and the last groups of three are defined by Williams as a symmetrically irregular framework
(Williams 2001, 42). V.C.
46
Katz 1985, 60. Emphasis in the original.
47
Ibid. 61.
21
Gesamtaufbau der Variationen)48 of Ingrid and Helmut Kaulers book Die
Goldberg-Variationen von J.S. Bach, issued in the same year 1985, the
year of Bachs 300th anniversary as Katzs article.
In addition, I must elucidate my approach to the first section of Variation
XVI. In contrast to Katz, I do not attribute this section to the second Sub-
cycle, which, I believe, commences with the second section of this Variation
(fughetta).49 Moreover, is the attribution of the first section of Variation XVI
to the second half of the Goldberg Variations so straightforward? Let us
analyze the pro & contra.
Pro:
1. The bass line of the entire Variation XVI follows that of the Theme. This
fact suggests the integrity, the indivisibility of this Variation, and
consequently its attribution to the second half of the work.
2. Due to the majestic character of this Variations first section (Ouverture)
it is quite natural to perceive it as a grand opening of the second half of the
Goldberg Variations.
Contra:
When studying the above-specified symmetries, we discover the highly
remarkable fact that the quantity of bars in the Variations in Sub-cycles 1 &
2, as well as in the Introductory & Concluding groups of three is always
symmetrical; the only seemingly asymmetrical element is the first section
of Variation XVI (16 bars50):
48
Kauler & Kauler 1985, 229230.
49
I am aware that the affinity of Variation IV (which opens Sub-cycle 1) and the second section of
Variation XVI (which, to my mind, commences Sub-cycle 2) is incomplete, because the second section of
Variation XVI starts in the dominant.
50
It is worth mentioning that the metrical function of bar 16II (or 16b) is quite complex. As Lauri Suurp
has pointed out in a conversation, in bar 16II there is a metrical reinterpretation: on one hand, this bar
22
Example No. 3.
VII 32 32 XIX
VIII 32 32 XX
IX 16 16 XXI
X 32 32 XXII
XI 32 32 XXIII
XII 32 32 XXIV
XIII 32 32 XXV
XIV 32 32 XXVI
XV 32 32 XXVII
Introductory Concluding
group of three group of three
I 32 32 XXVIII
II 32 32 XXIX
III 16 16 XXX
Theme 32 32 Theme at the end
closes a preceding four-bar group (hence functioning as a weak bar in the hypermetrical level), on the
other, it begins a new hypermetrical unit, thus functioning as a strong bar. In other words, in the 16+32 bar
scheme of Variation XVI the actual sum is not the arithmetical 48 but rather 47 since bar 16II has a dual
function.
23
In light of the above graph (Example No. 3), we must admit that in terms
of the Goldberg Variations symmetries, both the second Sub-cycle and the
second half of the work begin with the second section of Variation XVI
(fughetta)! But, as we know, the bass line of Variation XVI indisputably
attaches its first section (Ouverture) to the second half of the work. As we
can see, this issue is dualistic and unique in the Goldberg Variations. Being
well aware of the bass line of the Variation in question, I interpret this
movements dilemma as follows: in view of the above specified symmetrical
correlations between the movements of the 1st and 2nd halves of the work, the
first section (Ouverture) of Variation XVI occupies a special place in the
architecture of the Goldberg Variations as a monumental bridge, it stays in
the middle of the work, between its two halves, and consequently does not
enter into the system of their symmetries.51 Consequently, as the
symmetrical relationships in the Goldberg Variations play a key role in this
study, when discussing the second half of the work I will henceforth refer to
Variations XVI (second section) XXX Theme.
To sum up the most obvious symmetries in the Goldberg Variations
structure:
51
Although, the independent position of the first section of Variation XVI at the midpoint of the
Goldberg Variations reveals a new symmetry: Theme Variation XVI (first section) Theme.
24
of symmetries (displayed together with the aforementioned obvious
symmetries in the ensuing Example No. 4, and described thereafter):
Example No. 4.
Theme
Introductory group 1, 2, 3:
I
half
Variation XVI:
first section
2 Sub-cycle F T C G T C F T C A T C
16, 17, 18: 19, 20, 21: 22, 23, 24: 25, 26, 27:
2nd sect.
II
half
Concluding group 28, 29, 30:
Theme
25
Two Sub-cycles: Variations IVXV & Variations XVI (second section)
XXVII.
The four groups of three in the first Sub-cycle and the four groups of three
in the second Sub-cycle, revealing the symmetrical sequence of Variations
types.
52
Katz 1985, 60.
26
the articulated regularity of motivic interdependences within all the pairs
would be too simple and apparent in such a complex entity as the Goldberg
Variations. The motivic ties within the pairs will be addressed in the second
part of this study.
2. Temporality
27
think take their cue from retards at the end of the preceding variation, something
55
like that one pulse that runs all the way throughout.
The phenomenon of a single pulse which goes through the entire cycle
opens up yet another dimension of great importance that of the
relationships between the adjacent Variations (subsequently we will analyze
the example of Goulds temporal correlation of Variations XVIXVII
XVIII).
Evidently, the single pulse is established at the outset of the work, i.e. it is
the pulse one quarter note of the Theme. The correlation to the Themes
pulse automatically signifies the temporal correlation of each individual
Variation to all the other Variations. As will be exemplified, such a single
pulse does not obliterate the choice of tempi for the Variations, and such a
choice combined with the choice of dynamics, articulation and agogics
affects most significantly the character of each Variation, its relationships to
the adjacent Variations, and consequently the overall narrative of the work
(i.e. the dramatic arch built by the movements of the Goldberg Variations as
they succeed each other). I believe it is appropriate to define this overall
dramatic arch as a syntagmatic (i.e. linear, or horizontal) dimension of the
Goldberg Variations.
The construction of the dramatic arch from the beginning to the end of
the work is a highly subjective matter, for, as mentioned above, in addition
to the temporal problems, so much depends on the interpreter: on one hand
agogics, dynamics, articulation in each individual Variation, on the other
relationships between the adjacent Variations, which form the groups not
aligned with the groups of three! Such groups of adjacent Variations lead to
55
Ibid. 21. Emphasis in the original.
28
the intermediate climaxes. The determination of the intermediate climaxes
and the formation of the groups of adjacent Variations which lead to them
are in many ways matters of the interpreters choice. Here are two examples:
29
Theme
Variation XIII
Variation XV
Variation XXX
Theme
57
See Page & Gould 2001, 2223. The Example No. 5 is compiled by the author of this study in
accordance with Goulds explications given to Page.
30
58
Example No. 5.
As we can see from the above example, Gould correlates one quarter note
of the first section of Variation XVI to three eighth notes (= one bar) of its
second section. With regard to the further correlation to Variation XVII,
Gould explains that initially he wanted to correlate one bar of the second
section of Variation XVI to one quarter note of Variation XVII. Since for
Variation XVII such a correlation implied a tempo, which Gould considered
58
The excerpts from the score of the Goldberg Variations are taken from the Urtext der Neuen Bach-
Ausgabe (Brenreiter 2000); the exceptions will be specified.
31
too slow, he opted for a more sophisticated correlation: two eighth notes of
the second section of Variation XVI are equal to one quarter note of
Variation XVII. Such a correlation renders the second section of Variation
XVI and the ensuing Variation XVII more homogeneous, for the pace (viz.
the velocity) of the eighth/sixteenth notes is the same in both of them.59
Subsequently Gould correlates one quarter note of Variation XVII to one
half note of Variation XVIII.
Tim Pages reaction, having listened to Variations XVIXVIIXVIII from
Goulds 1981 recording of the Goldberg Variations, seems of great
significance to me:
You know something, Glenn, I felt it. I dont know if I would have actually
been able to spot what you did just listening to it, but there was a link between
those variations. I could feel it in my bones.60
Thus, the conceptual becomes perceptual (recalling the terms used by
Williams),61 even if it is felt in the bones, i.e. non-verbalized.
Gould adds:
I think its a technique the idea of rhythmic continuity thats really only
useful if everybody does feel it in their bones (to use your [Tim Pages]
words) experiences it subliminally, in other words and absolutely nobody
actually notices whats really going on.62
As Goulds correlation of Variations XVIXVIIXVIII demonstrates, we
have discussed a type of correlation, which I would call syntagmatic: viz.
59
It is worth remarking that Goulds correlation of the second section of Variation XVI to Variation XVII
contains one mistake: Gould ignores the fact that in the last bar of Variation XVI Bach brings back the alla
breve meter of its first section. Consequently, since in the entire work the single pulse is omnipresent, the
correct correlation should have been made via the last bar of Variation XVI: 3/8 (second section of
Variation XVI) alla breve (last bar of Variation XVI) 3/4 (Variation XVII).
60
Page & Gould 2001, 23. Emphasis in the original.
61
Williams 2001, 40.
62
Page & Gould 2001, 23. The Gouldian idea of the techniques invisibility seems significant to me at a
more general level, for it can be applied to the other art forms. For instance, when I look at Leonardo da
Vincis Portrait of a Young Women with an Ermine, as a non-professional admirer of painting I adore the
beauty of this portrait without analyzing its strict mathematical proportions.
32
one correlates Goldberg Variations adjacent movements (Theme
VariationsTheme) as they succeed each other.
63
Franklin 2004.
64
See the first edition of the Goldberg Variations (Schmid 1741).
65
Franklin 2004, 113.
66
See Figure 6.2 Temporal Units of the Goldberg Variations in Franklins paper (Franklin 2004, 109).
67
Page & Gould 2001, 21.
33
correlation of which has been displayed previously, see Example No. 5), and
study Franklins approach to them:
68
Example No. 6.
Franklin:
[] the quaver pulse in the section [the first section of Variation XVI]
3
carries over into the 8 section, with no change in notational value, where it is
grouped in threes rather than twos in essence a large-scale hemiola in the
form of a group of three crochets every two bars and where the harmonic
motion is more often per quaver than per dotted crochet. [] In Var. 17, the
beat is given yet another grouping, this time as three crochets per bar. The
3
progression can be summarized as follows: in = in 8 whose = in
3 69
4 .
As can be seen in Example No. 6, the single quarter note pulse contradicts
the local 3/8 meter of the second section of Variation XVI. At first sight
68
Franklin 2004, 123, Example 6.4. Emphasis in the original.
69
Ibid. 123124.
34
such a conflict may appear artificial, but, paradoxically, this temporal
correlation makes both sections of Variation XVI homogeneous, because the
velocity of the eighth/sixteenth notes remains the same70 (as I have
previously pointed out, Goulds correlation of the second section of
Variation XVI to Variation XVII produces a similar effect, see Example No.
5). Whereas according to Goulds suggestion the second section of Variation
XVI runs faster than the first, for Gould correlates one quarter note of the
first section to three eighth notes (=one bar) of the second section. Hence,
we see that within the correlation to the single pulse in Variation XVI,
Gould opts to emphasize the contrast between its two sections, while
Franklin makes them more homogeneous. Both solutions are logical.
Following is another thought-provoking example of the temporal
correlations, suggested by Franklin:
70
Considering the temporal correlation shown in Example No. 6, it seems more logical to me to speak of a
quarter note pulse, instead of an eighth note pulse, as Franklin does (though, he summarizes the progression
in question using the quarter notes). Obviously, if I discussed the eighth note pulse, in the present context it
would make irrelevant the issue of the conflict between the single quarter note pulse and the 3/8 meter of
the second section of Variation XVI.
35
71
Example No. 7.
71
Franklin 2004, 126, Example 6.6. Emphasis in the original.
72
Schenkman 1975.
73
Page & Gould 2001, 21.
36
another; and a more logical sense of continuity will have been achieved in the
work as a whole.74
As an appendix to his article, Schenkman presents a table of possible
tempo relationships between the Aria and Variations in Bachs Goldberg
Variations.75 The term possible stresses once again the freedom to choose
the tempi of the Variations within the correlation to the pulse of the Theme.
Obviously, the single pulse increases the sense of continuity (using
Schenkmans expression) in the Goldberg Variations immensely. However,
upon which logical basis shall we establish the correlation of the Variations
tempi to the pulse of the Theme? For instance, shall one quarter note of
Variation I be equal to one quarter note of the Theme? (See Example No. 8.)
Example No. 8.
Or, shall two quarter notes of Variation I be equal to one quarter note of the
Theme? (See Example No. 9.)
74
Schenkman 1975, 8.
75
Ibid. 910.
37
Example No. 9.
The third correlation (three quarter notes of Variation I = one quarter note
of the Theme) is realistic only in the case of a sufficiently slow pulse of the
Theme, for, NB: the key issue with regard to the correlation of the
38
Variations tempi to the pulse of the Theme is the choice of the tempo (i.e.
pulse-rate) for the Theme itself.
All three correlations shown above (Examples No. 8, 9, 10) are based
upon the Themes pulse-rate, and therefore are in compliance with the
principle of one pulse-rate, one constant rhythmic reference point.76
Hence, the question is: how should we choose among these solutions?
Should we be guided solely by our perception of the character of each
individual Variation and its role in the construction of the Goldberg
Variations overall dramatic arch (syntagmatic dimension)? That is Goulds
principle, as I perceive it. Or, is there still another level of correlation, viz. a
principle, which would render the choice of tempi more deliberate and
logical? In my opinion the answer to this question is positive, and the
introduction of such a principle constitutes the aim of my study. Prior to the
explanation of this new level of temporal correlation, I would like to make
yet another short observation: alongside the multiple symmetries of the two
halves of the Goldberg Variations (which have been addressed in the
previous section) even the pagination of the Goldberg Variations first
edition77 is symmetrical Variation XVI appears on the page 16 of the 32
pages (see Example No. 11).
76
Page & Gould 2001, 21.
77
Balthasar Schmid 1741.
39
78
Example No. 11.
78
Ibid. 16. Emphasis mine.
40
In considering the four Clavierbung volumes as a group, there emerges a (so
to speak) worrying question. In the middle of each volume, and nowhere else
but here, is a piece in the French style the stile francese as the editors of the
posthumous Art of Fugue called it complete with the characteristic rhythms
and retorical gestures of a French overture:
79
Williams 2001, 3031. Emphasis in the original.
80
Ibid.
41
invention! Ad exemplum: the Variations within the pair of Toccatas V &
XVII share 1) an identical quantity of bars 2) identical meter and 3) a similar
density of texture. I strongly believe that this example suggests that the tempi
(i.e. pulse-rate) of Variations V & XVII should be equal, which will result in
equality of duration of both Variations. (Consequently, as all the Variations
tempi are correlated to the pulse of the Theme, the identical tempi and
duration of Variations V & XVII imply the identical temporal correlation of
both Variations to the pulse of the Theme see the diagram on p. 84.)
Not all the temporal correlations are as unproblematic as in the above-
specified case. Nevertheless, I am convinced that all such correlations can be
worked out in accordance with the inner logic of the Goldberg Variations,
revealed by Katzs approach.
Hence, I suggest the following:
42
c) The temporal parity of the symmetrically correlated groups of three in
Sub-cycles 1 & 2:
Sub-cycle 2: Variations XVI (2nd section) XVII XVIII XIX XX XXI XXII XXIII XXIV XXV XXVI XXVII
d) The temporal parity within the majority of the pairs in the groups of
three: i.e. Fughettas: IV & XVI (second section), Toccatas: V & XVII,
Canons: VI & XVIII etc.
Nota bene: the attainment of equality of duration within several pairs is
problematic. The explanation is given below.
According to my perception, the majority, but not all the pairs can be
correlated temporally in such a way that the duration of both Variations
constituting the pair would be equal (as in the above-discussed case of the
pair V & XVII). The most eloquent example is the pair XV (Canone alla
Quinta) & XXVII (Canone alla Nona). Nevertheless, with regard to this
problem I must repeat the same argument I used when referring to the fact
that not all the pairs reveal the motivic interdependences: the articulated
regularity of motivic and temporal interdependences within all the pairs
would be just too simple, if not to say trivial, for such a complex entity as
the Goldberg Variations. My point is that the existing motivic and temporal
43
interdependences within the pairs, which will be tackled in the second part
of this study, strongly suggest the presence of Bachs original plan regarding
these phenomena.
If equality of duration could be attained within all the pairs, that would
automatically result in the desired temporal parity of the two Sub-cycles.
While the temporal parity within several pairs is problematic, I claim that
the temporal parity of all the symmetrically correlated groups of three in the
two Sub-cycles is perfectly attainable. I suggest that the temporal disparities
of the problematic pairs can be equilibrated within the symmetrically
correlated groups of three, which contain such pairs. The method of such
temporal equilibration will be clarified. The temporal parity of the
symmetrically correlated groups of three in the two Sub-cycles results in the
temporal parity of the Sub-cycles. The Introductory and Concluding groups
of three can be temporally correlated as well;81 and the temporal correlation
of the Theme & Theme at the end is evident. Consequently, the above
temporal correlations imply the temporal parity of the two halves of the
Goldberg Variations.
Thus, bearing in mind the fact that within several pairs the attainment of
equality of duration is problematic, Example No. 4 can be considered as a
graph of both structural and temporal symmetries.
81
As we have discussed, the quantity of bars in the Variations in the Introductory and Concluding groups
of three is symmetrical (see Example No. 3), which is by no means a coincidence. At the same time these
groups of three do not reveal the symmetry of the Variations types (see Example No. 2), peculiar to the
groups of three of Sub-cycles 1 & 2. However, it seems to me that Variations I & XXVIII can be
considered as a pair of Toccatas. As concerns Variations II & XXIX and III & XXX, I propose to consider
them as pairs for convenience, as this will facilitate the attainment of the temporal parity of the
Introductory and Concluding groups.
44
In summary, we can conclude that the formula of the temporal
correlations suggested in this study constitutes a superposition of two
principles:
I. The correlation of the tempi of all the Variations to the pulse-rate of the
Theme. (Since one quarter note of the Theme is the invariable reference unit,
I will call it QT.)
II. The attainment of the temporal parity (equality of duration) of the
Goldberg Variations segments, listed on pp. 4243: a, b, c, d (with a few
exceptions), e.
45
an impressive diversity of approaches. Here are a few examples of tempo,
chosen for the Theme:82
Glenn Gould:
Recording 1955: QT = approx. 63 M.M.
Regarding the personal perception of the author of this study, the option
of a slow tempo for the Theme (close to that of the Gouldian 1981
recording) seems preferable. Obviously, it is a subjective decision.
Hence, let me establish the following pulse of the Theme, which will pass
through the entire work: QT = 4044 M.M. Naturally, a faster pulse-rate of
the Theme (e.g. QT = 60 M.M.) would imply that the correlations of the
Variations tempi to the QT would be very different from those I propose in
the ensuing Part II of this study. Nevertheless, the choice of the Themes
pulse-rate does not change the correlations formula (see p. 45: I. & II.),
which remains invariable!
82
For detailed information about the recordings listed on this page, please see the Reference list: Audio and
video recordings of the Goldberg Variations.
83
Schenkman 1975, 9.
46
PART II
TEMPORAL AND MOTIVIC CORRELATIONS
1. The correlations
Since the comparison of the Variations within the pairs of Sub-cycles 1 &
2 commences with the pair of Fughettas IV & XVI (second section), prior to
addressing this pair, I must tackle the first section of Variation XVI, which
would otherwise be left out.
47
Variation XVI: first section (Ouverture)
Meter: alla breve
Bars: 1684
Temporal correlation:
Previously I have pointed out that according to my perception the first
section of Variation XVI (Ouverture) does not participate in the symmetries
of the Goldberg Variations two halves (see pp. 2224, as well as Example
No. 4). Nevertheless, as the pulse of the Theme (QT) goes throughout the
whole work, this section should be temporally correlated to the QT. I
propose the following correlation: one half note = QT.
Example No. 12.
QT
84
See the footnote No. 50.
48
Bars: 32 & 3285
Temporal correlation:
The Variations of this pair share a common meter and an identical quantity
of bars. Though the density of texture in Variation IV and in the second
section of Variation XVI differs, I believe these movements can share an
identical correlation to the QT: four eighth notes = QT.
Example No. 13.
QT
QT
85
See the footnote No. 50.
86
For the very accurate readers I have to point out that due to the last bar (alla breve) of the second section
of Variation XVI (Fughetta) there will be 1.25 QT more in the Fughetta in question than in Variation IV.
Consequently, the duration of these Fughettas will differ slightly; but let us beware of such schizophrenic
pedantry!
49
Variations IIIIIIIVV form a group, in which the accretion of tension
leads to the intermediate climax in Variation V. In order to make this
accumulation of energy gradual, I would like to achieve homogeneity of
movement within these five Variations. Such homogeneity can be attained by
rendering equal the pace of the eighth/sixteenth notes in all five Variations:
Example No. 14.
QT
QT
QT
QT
50
QT
QT
QT
51
render the correlation four eighth notes = QT simple, I advise
disregarding the bar-lines for a moment, and imagine only the tempo of the
eighth notes in both Fughettas, and then correlate the eighth notes to the QT.
This method can be applied to all such problematic temporal correlations.
Motivic correlation:
Both Fughettas are built upon a similar broken chord motive:87
Example No. 16.
* * *
52
Example No. 17.
QT
QT
Nota bene: the correlation two quarter notes = QT applies to all the
toccata-type Variations. Hence, the duration of all the Toccatas is identical.
QT
53
QT
Motivic correlation:
Example No. 19a.
54
Variations VII & XIX
Gigues88
Meter: 6/8 & 3/8
Bars: 32 & 32
Temporal correlation:
Variation VII:
Four eighth notes = QT
Example No. 20a.
QT
6
8
Variation XIX:
Two eighth notes = QT (NB: the tempi of the Theme and Variation XIX are
identical.)
Example No. 20b.
QT
88
Previously I have pointed out that Katzs classification of Variation XIX as a Gigue does not seem quite
persuasive to me (see p. 19).
55
Motivic correlation:
89
Example No. 21.
89
Since due to technical reasons it was impossible to align Variations VII and XIX, Variation XIX is
placed on p. 57.
56
In this context I would like to permit myself yet another subjective
comment from the performers perspective. Considering the remarkable
57
motivic interrelations within this pair, if a performer observes the
aforementioned correlations to the QT and plays Variation XIX piano, an
interesting effect can be created: after a long journey from Variation VII,
Variation XIX sounds like its remote, nostalgic reminiscence.
QT
QT
Motivic correlation:
The motivic ties are as apparent as they are in the previous pair of Gigues.
58
90
Example No. 23.
90
As in the previous case of the pair VII & XIX, due to technical reasons it was impossible to align
Variations VIII & XX; Variation XX is placed on pp. 6061.
59
60
Variations IX & XXI
Canone alla Terza & Canone alla Settima
Meter: 4/4 & 4/4
Bars: 16 & 16
Temporal correlation:
One quarter note = QT in both Variations.
Example No. 24.
QT
61
QT
62
Variations X & XXII
Fughettas
Meter: alla breve & alla breve
Bars: 32 & 32
Temporal correlation:
One bar = QT in both Variations.
Example No. 26.
QT
QT
Such a correlation equalizes the duration of these Variations.
Motivic correlation:
Variations X & XXII are unified by such features as the stile antico and the
feeling of alla breve. Jacob refers to these movements common
charakteristische Wendungen & stilistische Zugehrichkeit (characteristic
turns & stylistic affinity).91
91
Jacob 1997, 264265.
63
Example No. 27.
64
Eight sixteenth notes = QT92 (as in all the other toccata-type Variations).
Variation XXIII:
Two quarter notes = QT (as in all the other toccata-type Variations).
Example No. 28.
QT
12
16
QT
92
I am aware that at the first sight such a correlation may seem horrendously complex, but in reality it is
most simple! In order to implement it we should either use the method explained on p. 52, or just correlate
one eighth note of Variation X (the correlation of which to the pulse of the Theme is one bar [alla breve] =
QT) to one sixteenth note of Variation XI. Note that = correlation of Variations X and XI is
perceivable, since it conveys homogeneity of movement to these Variations.
65
Motivic correlation:
Example No. 29.
A
A
A
B B B
A A
A
66
A
A
A
B B B
A
(A) A
A
(B)
(A)
67
Variations XII & XXIV
Canone alla Quarta & Canone all Ottava
Meter: 3/4 & 9/8
Bars: 32 & 32
Temporal correlation:
In order to equalize the duration of these Canons, we should think of the 9/8
of the Canone all Ottava as if it were 3/4.
Variation XII:
Two quarter notes = QT
Variation XXIV:
Six eighth notes = QT
68
Example No. 30.
QT
QT
Motivic correlation:
Example No. 31.
69
Temporal correlation:
Thus far we have attained equality of duration of the Variations within all
the pairs. Now we are entering into the symmetrically correlated groups of
three, which contain more problematic pairs. For the pair XIII & XXV I
propose the following temporal correlation:
Variation XIII:
One quarter note = QT
Variation XXV:
One eighth note = QT
Example No. 32.
QT
QT
93
In conversation with Tim Page, Glenn Gould remarks on Variation XXV: I dont think theres been a
richer lode of enharmonic relationships anyplace between Gesualdo and Wagner. (Page & Gould 2001,
24.)
94
Schenkman (1975, 10) suggests the same correlation; however, as I have mentioned, Schenkmans pulse-
rate of the Theme (QT = 60 M.M.) is considerably faster than mine (QT = 4044 M.M.).
70
which leads to a divergence of duration of the Variations within this pair.
The solution for this inconsistency will be explained, when we face the same
type of problem in the pair XV & XXVII.
Motivic correlation:
Example No. 33.
71
Example No. 34.
QT
QT
Motivic correlation:
Though I do not see any direct motivic ties between these movements, I
agree with Jacob, who notes these Variations charakteristische Wendungen
& stilistische Zugehrichkeit (characteristic turns & stylistic affinity).95
95
Jacob 1997, 265.
72
pace (Bach indicates Andante96) represent an immense contrast to the light,
airy velocity of the Canone alla Nona, which sounds more transparent than
all the other Canons, due to the absence of the accompanying bass. For this
reason, I propose the following temporal correlation of Variation XV: one
eighth note = QT.97
Example No. 35a.
QT
I believe that in this tempo a performer can better reveal the enormous inner
tension within this Variation, which concludes the first half of the Goldberg
Variations.
On the contrary, I propose tempo vivace for the Canone alla Nona: one
bar = QT.
Example No. 35b.
QT
When analyzing the context in which Canone alla Nona appears, we notice
that starting with the previous toccata-type Variation XXVI Bach builds up
a remarkable dramatic line, which reaches its peak in the Quodlibet (this
96
Franklin points out that the notation of Variation XV is exceptional, including demisemiquaver (rather
than semiquaver) motion and an andante marking that denote a crochet beat slower than the one usually
associated with the signature. (Franklin 2004, 111.)
97
Schenkman (1975, 9) proposes this correlation as well, but, as discussed previously, his pulse-rate of the
Theme (QT = 60 M.M.) is much faster than mine (QT = 4044 M.M.).
73
issue has already been mentioned with regard to the syntagmatic dimension
of the Goldberg Variations, see p. 29). In order not to lose the energy
accumulated in Variation XXVI, I suggest the aforementioned vivace for the
following Canone alla Nona, which means that the velocity of the sixteenth
notes of Variation XXVI (in 18/16) and the sixteenth notes of Variation
XXVII becomes identical. This homogeneity of movement seems important
to me, because when passing to the next Variation (XXVIII) with its thirty-
second notes, there is the effect of a gradual acceleration of velocity, which
renders more coherent the progress towards the culmination in the
Quodlibet.
Consequently, there is a temporal disparity between Variations XV and
XXVII. When explaining the system of temporal correlations proposed in
this study, I have pointed out that whereas the temporal parity within several
pairs appears problematic, such parity of all the symmetrically correlated
groups of three is attainable. My point is to equilibrate the temporal
disparities of the problematic pairs within the symmetrically correlated
groups of three to which such pairs belong. Let me clarify this method of
temporal equilibration by equalizing the duration of the following two
symmetrically correlated groups of three:
74
As we have already studied, the duration of the Variations within the pair
XIV & XXVI is equal, but in the pairs XIII & XXV and XV & XXVII there
is a temporal disparity:
Variation XIII: one quarter note (in 3/4) = QT
75
Example No. 36.
Variation XIII
32 (bars) x 3 (quarter notes, since the meter of Variation XIII is 3/4) = 96
(quantity of quarter notes in this Variation). Since the temporal correlation
of Variation XIII with the pulse of the Theme is one quarter note = QT, this
Variation contains 96 QT.
Variation XIV
32 (bars) x 3 (quarter notes, since the meter of Variation XIV is 3/4) =
96 (quantity of the quarter notes in this Variation).
96 (quarter notes) : 2 (quarter notes, since the temporal correlation with the
pulse of the Theme is two quarter notes = QT) = 48 QT in Variation XIV.
Variation XV
32 (bars) x 4 (eighth notes, since the meter of Variation XV is 2/4 [= 4/8]
and the temporal correlation with the pulse of the Theme is one eighth note
= QT) = 128 QT in Variation XV.
Variation XXV
32 (bars) x 6 (eighth notes, since the meter of Variation XXV is 3/4 [= six
eighth notes] and the temporal correlation with the pulse of the Theme is one
eighth note = QT) = 192 QT in Variation XXV.
Variation XXVI
48 QT (see the calculation regarding Variation XIV).
Variation XXVII
Since the bar quantity of Variation XXVII is 32 and its temporal correlation
with the pulse of the Theme is one bar = QT, Variation XXVII contains 32
QT.
76
Thus, the duration of these two symmetrically correlated groups of three is
equal.
I should add that I do not believe that in the above cases of the pairs XIII
& XXV and XV & XXVII my personal esthetic preferences, with regard to
the choice of tempi for the Variations, overrule the general principle of
equality of duration of the Variations within the pairs. As I have pointed out,
theoretically the temporal correlations of Variations XIII & XXV to the QT
can be identical (one quarter note = QT), which leads to the equality of their
duration. However, why does Bach indicate Adagio for Variation XXV only,
and not for Variation XIII? Does it not suggest that Variation XXV, so to
speak, weighs more than Variation XIII?
As concerns the pair XV & XXVII the situation is even clearer than in the
previous case. Without mentioning Bachs Andante indication for Variation
XV and the absence of a tempo marking for Variation XXVII, it suffices to
survey these two Variations with the naked eye in order to understand their
temporal disparity.
98
Katz 1985, 61.
78
Temporal correlation:
Two quarter notes = QT in both Variations (as in all the other toccata-type
Variations). (48 QT in each Variation.)
Example No. 37.
QT
QT
As we can see, this pair does not pose any problems in terms of temporal
correlation. The following two pairs (Variations II & XXIX and III & XXX)
are not that straightforward in this respect.
79
Example No. 38.
QT
QT
The problem arises from the fact that the time signatures of Variations II
& XXIX differ. Adhering to the formula two quarter notes = QT results
in the temporal disparity: Variation II contains 32 QT and Variation XXIX
48 QT.99 In order to solve the temporal dilemma we must analyze the last
pair:
Variations III & XXX
Canone all Unisono & Quodlibet
Meter: 12/8 & 4/4
Bars: 16 & 16
Temporal correlation:
Sharing an identical quantity of bars, Canone allUnisono and the Quodlibet
differ in their time signatures and, more importantly, in their structures: the
texture of the Canone allUnisono is more intensive and dense than the
texture of the Quodlibet (even though it has four parts). I believe that the
appropriate correlation between the Quodlibet and the pulse of the Theme at
the rate of 4044 M.M. is one half note = QT. In order to attain equality of
99
The calculations are made according to the same pattern as that for the groups of three XIII, XIV, XV &
XXV, XXVI, XXVII see Example No. 36.
80
duration of these two Variations, one half note = QT in the Quodlibet
implies six eighth notes = QT in the Canone allUnisono, which, to my
mind, is much too fast for the most complex of all the Canons in the
Goldberg Variations. I must remind the reader that these correlations are
entirely dependent on the tempo of the Theme. For instance, if the QT was
60 M.M., the attainment of equality of duration of Variations III & XXX
would not pose a problem and could be achieved by the following
correlations:
Variation III:
Three eighth notes = QT
Variation XXX:
One quarter note = QT
Let me recall, however, that since the intensity of the ties between the
Introductory & Concluding groups of three is weaker than in the
symmetrically correlated groups of three in Sub-cycles 1 & 2, I have
proposed to correlate the Introductory & Concluding groups in accordance
with the pair principle for convenience, in order to render easier the
attainment of equality of duration of these groups of three. Consequently, in
the case of Variations II & XXIX and III & XXX we should not fear
deviating from the principle of equality of duration of the Variations within
the pairs (even though such equality within the pairs II & XXIX and III &
XXX is not impossible), because the interconnections of these Variations are
much less obvious than that of, ad exemplum, the Variations within the pairs
VII & XIX or XI & XXIII. Hence, I believe it is logically justified to use
once again the method of temporal equilibration, and balance the temporal
disparities of the pairs II & XXIX and III & XXX, considering them as parts
81
of their groups of three (as we did in the groups of three XIII, XIV, XV &
XXV, XXVI, XXVII).
For the pair III & XXX I suggest the following temporal correlation:
Variation III:
Four eighth notes = QT
Variation XXX:
One half note = QT
Example No. 39.
QT
QT
Variation III contains 48 QT and Variation XXX 32 QT.
100
At the earlier stages of this study I proposed the idea of a dramatic line of Variations IIIIIIIVV.
Wishing to achieve homogeneity of movement within these Variations, I suggested rendering the velocity
of the eighth/sixteenth notes equal in all five Variations (see Example No. 14). As these five Variations
share the same correlation to the QT (four eighth notes = QT), a different correlation for Variation II and III
would destroy the gradual development of the above specified dramatic line. Naturally, I am well aware of
the subjectivity of this issue.
82
disparities of the pairs II & XXIX and III & XXX and equalizes the duration
of both groups of three:
83
2. Diagram of the temporal correlations
alla 16 XVI
= QT breve 1st section
First Second
Sub-cycle Sub-cycle
IV 32 3/8 3/8 32 XVI
4 = QT 2nd section
V 32 3/4 3/4 32 XVII
= QT
VI 32 3/8 1 bar = QT alla 32 XVIII
breve
84
XII 32 3/4 = 6 = 9/8 32 XXIV
QT QT
85
b) The temporal parity of the two Sub-cycles:
Sub-cycle 1: Variations IVXV
Sub-cycle 2: Variations XVI (2nd section) XVII XVIII XIX XX XXI XXII XXIII XXIV XXV XXVI XXVII
d) The temporal parity within the majority of the pairs in the groups of
three: IV & XVI (second section), V & XVII, VI & XVIII etc.
When the duration of the Variations within a pair is unequal, both
Variations of such a pair are marked with an asterisk.
Bach indicates repeats for both halves of the Theme and for both halves of
all the 30 Variations. Should a performer decide not to respect all the repeats
and choose to observe only some (as Gould, Landowska and many others
including the author of this study do), in order to preserve the temporal
symmetry it is obligatory to follow the pair principle: ad exemplum, if both
86
halves of Variation V are repeated, consequently, both halves of Variation
XVII must also be repeated.
87
CONCLUSION
101
Glenn Gould in conversation with Bruno Monsaingeon (see the Reference list: The Goldberg
Variations. From Glenn Gould plays Bach. A film by Bruno Monsaingeon). Transcription & emphasis
mine.
102
Page & Gould 2001, 21. Emphasis in the original.
88
deplorable and, I firmly believe, impermissible for a performer to
tackle such a colossus without an articulate conception.
2. One important detail: let us not forget the rests between the Goldberg
Variations movements. I believe they have considerable significance
in the architecture of the work. Furthermore, I think that the QT pulse
continues to live and move forward in these rests. Consequently, I
suggest thinking carefully about the quantity of the QT in all the
intervals between the movements of the work.
3. I am aware that certain aspects of my system of temporal correlations
may appear rather abstract: exempli gratia, the temporal equilibration
of the groups of three, situated at a considerable distance from each
other. Naturally, such temporal interconnections cannot be perceived
by a listener, for whom the correlations between the adjacent
movements are of primary importance, even if he/she in most cases
merely feels the unity of the works movements, created by such
correlations, but cannot explain its source. However, I am persuaded
that for a performer the abovementioned seemingly abstract
correlations of the Goldberg Variations segments mean a
considerable amount, for they contribute greatly to the coherence and
completeness of the conception. One cannot negate that the
performers clear vision of the work he/she interprets augments
his/her power of persuasion immensely, and such a power inevitably
affects the listener!
4. It seems to me that a key advantage of the system proposed in this
paper is the relationship between a strict scheme and the performers
subjective decisions. Id est, within the formula of the temporal
correlations a performer can select the tempi for the Goldberg
89
Variations movements in accordance with his/her esthetic
preferences (for instance, one may feel that the tempo might become
too slow, or too fast, if a certain correlation is chosen, or one may
wish to create dramatic unity among several successive Variations). In
other words, as Professor Lauri Suurp has eloquently formulated it
in a conversation: there is a dialog between theoretical rigidity and
artistic liberality, and these two are not mutually exclusive.
Ultimus at non minime, I should confess that I have always admired not
only the strength of a conception, but also its esthetics. Dear colleagues, let
us not disregard a conceptual beauty!
90
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Goldberg Variations.
With the commentaries of Maria Yudina.
1996 Moscow: Kompozitor.
Goldberg Variations.
Edited by Ralph Kirkpatrick.
1938 New York: G. Schirmer.
Recording 1981.
CBS Inc. CD 37779.
The Goldberg Variations. From Glenn Gould plays Bach. A film by Bruno
Monsaingeon. 2000 Sony Music Entertainment Inc. SVD 48424 (DVD).
91
Ralph Kirkpatrick, harpsichord.
The year of the recording is not specified ( P 1959).
Deutsche Grammophon 469 673-2.
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Jacob, Andreas 1997. Zyklische Verdichtung in den Goldberg-Variationen.
In Studien zu Kompositionsart und Kompositionsbegriff in Bachs
Klavierbungen. Beihefte zum Archiv fr Musikwissenschaft, Bd. XL, pp.
235267. Stuttgart: Franz Steiner Verlag.
Page, Tim & Gould, Glenn 2001. On Bachs Goldberg Variations: Glenn
Gould in conversation with Tim Page (1982). Glenn Gould, Vol. 7/1, pp.
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Tovey, Donald Francis 1978. Aria with Thirty variations (The Goldberg
Variations) (1900). Essays in musical analysis, pp. 2875. Oxford: Oxford
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93